Muhammad al-Maghut: Roman Amphitheaters

[Muhammad al-Maghut. Image from Youtube.] [Muhammad al-Maghut. Image from Youtube.]

Muhammad al-Maghut: Roman Amphitheaters

By : Ahmad Diab

Roman Amphitheaters

Muhammad al-Maghut

 

1.

Nothing is left of the revolution’s bells save echoes

Nor of poetry’s horse save the bridle

Nor of freedom’s road save fixed and flying checkpoints

I have spent my childhood, youth and the entire length of the march to freedom and liberation, amid rifles, machine guns, chains, tanks, armored vehicles, armed patrols and combat air patrols, while every other step:

Stop: ID

Stop: Papers

Stop: Passport

Stop: What do you have in your suitcase?

Stop: What do you have in your pockets?

Stop: What do you have in your mouth?

Stop: Where are you going?

Stop: Where do you come from?

Whenever I wanted to jump over this reality, I only land in jail!

.   .   .

Indeed we have entered the twenty first century

But as a fly would a king’s room!

 

2.

Iraq’s future is bleak

Palestine’s future is bleak

Freedom’s future is bleak

Unity’s future is bleak

Liberation’s future is bleak

Economy’s future is bleak

Culture’s future is bleak

Love’s future is bleak

Climate’s future is bleak

On top of that:

There’s a media blackout

a political blackout

a military blackout

an economic blackout

a cultural blackout

a sectarian blackout

On top of that an electric outage every half hour,

yet, despite it all, they only speak of transparency these days.

 

3.

They took up my style in loafing, wearing hats,

lighting up joints, blowing off smoke,

grumbling at beggars and alms seekers,

how I greet,

my ire at public complaints,

laughing raucously,

then my way of embracing the bar,

in turning my back at everyone

and clapping for the bartender

the number of glasses I have,

and the amount of dregs I leave behind.

Then they took over my table at the café

my writing rituals

the size of the notebooks I use

and the color of the ink with which I write

Now… they want my hand

with its wrinkles

and the old gazelle tattoo on it!

 

4.

O ye blacksmiths

O ye carpenters

O ye stonecutters

O ye trumpeters in military parades

O ye drummers in scout bands

O ye Ramadan drummers in poor neighborhoods

O ye peddlers in busy markets

O ye women brawling from your windows

O ye cars and trucks divers

O ye traffic officers

O ye sport matches fans

O ye orators and cheerers in official processions

O ye car drifters by day and night

Keep your voices down

The sounds of your whistles, horns, and hammers too.

Talk in whispers,

Tiptoe,

The homeland is dying.

 

[Translated from the Arabic by Ahmad Diab. From Shar `Adan, Gharb Allah (East of Aden, West of God) Damascus: Dar al-Mada, (2005)]

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A Scenography Workshop by Hussein Baydoun

A Scenography workshop by Hussein Baydoun

8-16 September 2013

Falaki Theater, Cairo, Egypt

 

Hussein Baydoun is a Lebanese artist, architect, and scenographer who is known for his unique approach to set design. Baydoun frequently participates in the creation and development of performances from their early stages with the view that scenography is an essential component to the creation of theatrical work, one no less important than the script. His designs are often inspired by the performance spaces in which he works, where he creates fascinating sets from whatever is available as he challenges conventional notions about theater production, such as in his most recent performance "Alice," which was produced in collaboration with Lebanese playwright and director Sawsan Bou Khaled. In September, Baydoun returned to Cairo to lead a scenography workshop following the same vision. At the American University in Cairo`s Falaki Theater, he worked with six upcoming set designers, in addition to amateurs, on creating imaginative environments from the remnants of old sets and other discarded objects. This video highlights the vision and development of the workshop as Baydoun describes the aim of his teaching methods.  


 

      

     [This video is produced by Medrar TV and is featured as part of a new partnership with Jadaliyya Culture.]